The Extra Day — Story, Setting & Ideas

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Blackwood, Algernon, 1869-1951 Project Gutenberg 2004 Not confirmed
Fantasy fiction, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 98,842
Reading time 430 min
Text sections 9

The catalog record for The Extra Day — Story, Setting & Ideas provides practical reading context through 98,842 words, 7 hr 10 min estimated reading time, and 9 detected text sections.

The text analysis averages about 14.1 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fantasy fiction, English,” connecting these edition facts with the source record’s subject description.

In Algernon Blackwood's fantasy, three children and their uncle discover a hidden gap in time, leading to an 'extra day' that defies clocks and calendars. The narrative blends domestic detail with metaphysical wonder, focusing on the children's perceptions of authority and the secret of a stopped clock.
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Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

This was the outward and visible household that an ordinary person, say, a visitor who came to lunch on Sunday after church, would have noticed. It was the upper layer; but there was an under layer too. There was Thompson, the old pompous family butler; they trusted him because he was silent and rarely smiled, winked at their mischief, pretended not to see them when he caught them in his pantry, and never once betrayed them. There was Mrs. Horton, the fat and hot-tempered family cook; they regarded her with excitement including dread, because she left juicy cakes (still wet) upon the dresser, yet denied them the entry into her kitchen. Her first name being Bridget, there was evidently an Irish strain in her, but there was probably a dash of French as well, for she was an excellent cook and _recipe_ was her master-word--she pronounced it "recipee." There was Jackman, the nurse, a mixture of Mother and Aunt Emily; and there was Weeden, the Head Gardener, an evasive and mysterious personality, who knew so much about flowers and vegetables and weather that he was half animal, half bird, and scarcely a human being at all--vaguely magnificent in a sombre way. His power in his own department was unquestioned. He said little, but it "meant an awful lot"--most of which, perhaps, was not intended.

These four constituted the under layer of the household, concealed from visitors, and living their own lives apart behind the scenes. They were the Lesser Authorities.

There were others too, of course, neighbours, friends, and visitors, who dwelt outside the big iron gates in the Open World, and who entered their lives from various angles, some to linger, some merely to show themselves and vanish into mist again. Occasionally they reappeared at intervals, occasionally they didn't. Among the former were Colonel William Stumper, C.B., a retired Indian soldier who lived in the Manor House beyond the church and had written a book on Scouting; a nameless Station-Master, whom they saw rarely when they accompanied Daddy to the London train; a Policeman, who walked endlessly up and down the muddy or dusty lanes, and came to the front door with a dirty little book in his big hands at Christmas-time; and a Tramp, who slept in barns and haystacks, and haunted the great London Road ever since they had once handed him a piece of Mrs. Horton's sticky cake in paper over the old grey fence. Him they regarded with a special awe and admiration, not unmixed with tenderness. He had smiled so nicely when he said "Thank you" that Judy, wondering if there was any one to mend his clothes, had always longed to know him better. It seemed so wonderful. How could he live without furniture, house, regular meals--without possessions, in a word? It made him so real. It was "real life," in fact, to live that way; and upon Judy especially the impression was a deep one.

In addition to these occasional intruders, there was another person, an Authority, but the most wonderful Authority of all, who came into their lives a little later with a gradual and overwhelming effect, but who cannot be mentioned more definitely just now because he has not yet arrived. The world, in any case, speaking generally, was enormous; it was endless; it was always dropping things and people upon them without warning, as from a clear and cloudless sky. But this particular individual was still climbing the great curve below their horizon, and had not yet poked his amazing head above the edge.

Yet, strange to say, they had always believed that some such person would arrive. A wonderful stranger was already on the way. They rarely spoke of it--it was just a great, passionate expectancy tucked away in the deepest corner of their hearts. Children possess this sense of anticipation all the world over; grown-ups have it too in the form of an unquenchable, though fading hope: the feeling that some day or other a Wonderful Stranger will come up the pathway, knock at the door, and enter their lives, making life worth living, full of wonder, beauty, and delight, because he will make all things new.

The opening chapter of The Extra Day introduces Judy, Tim, and Maria as 'just little children' of 'the usual age,' and their guardians—Father, Mother, and Aunt Emily—as 'Authorities-in-Chief' who govern separate domains: London and Money; Food, Health and Clothing; Conduct, Behaviour and Regulations. Aunt Emily, a 'living embodiment of No,' wears gold glasses and has an 'elastic, pointed nose.' The household includes Thompson the butler, whose silence and rare smiles earn the children's trust. This precise, almost taxonomic description of the domestic hierarchy establishes a world where rules and categories are clear, yet the narrative immediately hints at an 'under layer' of secret understanding between the children and their uncle, Felix.

Authority and the Under Layer

The catalog subject 'Fantasy fiction, English' might suggest a conventional fairy tale, but the excerpts reveal a story grounded in the minutiae of Edwardian household management. The children classify adults by function: Father permits, Mother wobbles, Aunt Emily forbids. Yet the real action occurs in the 'under layer'—the silent complicity with Uncle Felix, who hides the stopped clock and orchestrates the adventure. The butler Thompson is trusted 'because he was silent and rarely smiled,' a detail that aligns him with the children's secret world. Blackwood uses the rigid structure of authority to highlight the subversive power of imagination, making the fantasy feel earned rather than arbitrary.

The Mechanics of Wonder

The 'extra day' is not a magical gift but a discovered flaw: 'The scientists had made a mistake, the Government had been afraid to deal with it.' Uncle Felix collects all timepieces—watches of 'silver, tin, and gunmetal'—and plans to remove the weights from the kitchen clock. The children's understanding of time is practical and conspiratorial; they speak of 'timepieces' and 'winding up' as if participating in a heist. Maria, the youngest, keeps the stopped alarum clock under her pillow, her stillness making her 'the best repository of all.' The narrative treats the suspension of time as a mechanical problem, not a mystical event, grounding the fantasy in tangible objects and actions.

Maria's Silent Center

Maria is described as 'more circular and globular than ever,' eating calmly while others whisper. Her only spoken line is 'I'm alright,' repeated without alteration. The narrator attributes to her an inner conviction: 'I never have believed in Time; at the centre where I live, clocks and calendars are not recognised.' This interiority is inferred rather than stated, but the excerpts consistently present Maria as a still point around which the adventure revolves. Her 'particular adventure' is named but not described, leaving her role ambiguous. The reader is left to wonder whether her stillness is wisdom or passivity—a question the incomplete text does not resolve.

The excerpts end on the eve of the extra day, with the children asleep and 'Time also fell asleep.' The narrative withholds the actual event, focusing instead on preparation and atmosphere. Readers should attend to Blackwood's method: he builds wonder not through grand spectacle but through precise domestic detail and the children's matter-of-fact acceptance of the impossible. The stopped clock, the hidden weights, and Maria's pillow all carry more weight than any explanation of what the extra day will bring.

Reading about that stopped clock, and the children slipping into a day outside time, I found myself thinking of another kind of stillness, the quiet heat of a Florida wilderness. The awe there feels less mystical, more rooted in pine needles and river water. Yet both carry that same hushed sense of a world holding its breath. Wakulla: a story of adventure in Florida — Themes and Context brings back that patient, watchful feeling.

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